Curiously, Canaletto never printed either of these energetic capriccio landscapes (depictions of fantastic architecture or ruins) individually. Instead, they exist only as a pair on a single sheet (for the left half, see 1922.1381.13). While both images include fictional antiquarian architectural elements, it is not known why the artist combined them. Perhaps it was their mirrored compositions: when placed side by side, both images slope inward toward a church that straddles the margin between the plates and connects the two scenes.